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About The daily Nebraskan. ([Lincoln, Neb.) 1901-current | View Entire Issue (Nov. 20, 1991)
Arts & Entertainment Cartoon comedian to perform at Barry’s By Robert Richardson Senior Reporter If you’ve ever wondered what weird mind was behind those “Ozzy Fudd” comedy bits that have playing on local radio stations, the answer can be found in Lincoln tonight. Mark McCollum, thecomedian whocrossed Elmer Fudd with Ozzy Osbourne in order to “kill all the wabbits,” will perform at Barry’s Bar and Grill, 235 N. 9th St., tonight. McCollum is a “Star Search” champion, a comedian with his own Showtime special and has appeared on the “Tonight Show.” For McCollum, a fifth-generation San Fran ciscan, entertaining came at a young age. He performed in a family band at weddings and bar mitzvahs before taking to another kind of stage — comedy. Starting out at San Francisco comedy club The Holy City Zoo with the likes of Robin Williams and DanaCarvey, McCollum gained experience early. But there was something even more attractive about the atmosphere. “There was no money involved, there was no big picture involved,” McCollum said. “It was, wow, a stage, a stage. The First Five minutes were magical. It was like, 1 found a place where I’m not crazy. I just needed a place to vent. I’ll never forget it, those were magical times.” Those were also early beginnings for McCol lum. The comedy industry has changed and so has McCollum’s act, which now includes music mixed with cartoon characters like Bugs Bunny, Daffy Duck, Marvin the Martian and Elmer Fudd. “It’s kind of a climax of using the perspec tive that you can take something that’s been around like Elmer Fudd and what would it be like if Elmer had a punk son,” McCollum wondered. “And let’s say he had a hit video on MTV: Ozzy Fudd, the Rabbit Slayer.” McCollum said he uses cartoon characters in his act because, for him, it’s what works. “Trying to be totally different doesn’t really work,” McCollum said. “What really works in Mark McCollum See COMEDY on 10 F/X sequel hits; Hawk takes dive By Anne Steyer . Senior Reporter It’s a hit-and-miss week for new releases. Bruce Willis’ “Hudson Hawk” limps in to video stores, as docs another brain dead action flick from Steven Seagal. Luckily, there arc two mov ies worth watching this week. “F/X 2” (PG-13) Bryan Brown and Brian Dcnnehy re prise ihcir roles as movie spe cial effects (F/X) w i/.ard RoUie \ Tyler and cantankerous cop Leo J McCarthy, respectively. It’s five years and 15 million dollars later from the first film. Tyler, now retired from his “F/ X” business, spends his time designing and creating fantastic toys. He is coaxed out ol retire ment by his girlfriend’s ex-hus band, who needs Tyler’s spec ial talents for an undercover police operation. As in the first film, things hit a snag and someone ends up dead. Again following the origi nal, McCarthy comes to the rescue, and together they work to outwit the mob. This time, the Vatican and some priceless gold coins arc involved. Throw in a psychotic hit man and an incredible, life-size, remote-control Clown, and “F/ X 2” has a good mix of comedy and adventure. Though not as original as the first film, “F/X 2” does have its moments. The special effects arc good, and the story is inter esting, albeit familiar. Dennehy and Brown work well together, and their relationship still is entertaining. The critics unfairly panned it, but as pure escapist adven ture, “F/X 2” fits the bill. (Avail able Thursday) “Hudson Hawk” (R) Bruce Willis is the title character, a smirking, singing, thieving ex con. Hawk is a cal burglar who has recently been released from firison. He is hired by rich sib ings to steal artworks by Le onardo Da Vinci and help them build a machine that will turn lead into gold. Assisting Willis in these adventures is his pal Danny Aiello (“Moonstruck”), who even breaks into a schmaltzy song during one of the heists. Andie Mac Dowell (“Green Card”) is the undercover agent from the Vatican. A $50 million flop, Hudson See VIDEOS on 10 — ■■ ■ —^-—-— “ ^ourtesy^Skouras Pictures Natasha Richardson (left) and Rupert Everett (right) play vacationing lovers who meet a wealthy sociopath played by Christo pher Walken in “The Comfort of Strangers.” Violence, sex blanket film J 2 uSr,y s»c" J.^:2 milHon teiSg.:.■ .S.wfton !■ S/TJilly Bathgate7, L j o $t .9 milli°n .P* J - “Other People s j 7 Money;; ^ -B m>«»op.f 4 «“Highlander 2. Wton L J ° Quickening L T o ‘‘Strictly Business L J y $1.57 million .] M U) “House Party 2 w jt .3 million I “Comfort of Strangers” By Mark Baldridge Staff Reporter Though it’s set in Italy, nearsighted viewers will be relieved to learn that “The Comfort of Strangers” (Ross) has no tiny subtitles to read. The film is in the very best English. Harold Pinter is responsible for that. It’s his screenplay, coupled with the beautiful sellings of Venice, that makes the film fly. Pinter is well known as a playwright (“The Dumb waiter”) with a masterful command of the language. If that makes you think of stuffy^classics,” think again: Pinter’s characters are the most inter esting and three-dimensional around. The film also boasts a powerful cast. Christopher Walken plays Robert, a sinister Italian sociopath. Walken is an old hand at making audiences squirm. He’s well within his fort6 here and operating with all the con siderable resources at his command. Natasha Richardson (“The Hand maid’s Tale”) plays Mary, a beautiful English actress on holiday with her handsome lover Colin (Rupert Ever ett). The two are trying to put their relationship in perspective to decide if it is worth continuing. The young lovers meet — and eventually come to stay with — two strangers, Robert and his wife Caro line, played by Hellcn Mirren. Robert and Caroline form a bizarre couple, bound by rituals of sex and violence. The young Colin, perhaps vaguely aware of his hosts’ attentions, be comes fascinated with the older couple. They are both magnetic in their own way, and seem strangely drawn to Colin and Mary. The film is full of dark sexuality and violent non-sequesters. It is the fault of Hollywood that violence is so often taken to mean a shotgun blast to the head. There is a violence in the world, and here in “The Comfort of Strangers,” that has little to do with the ends of violence, death or pain. However, that is here as well; There is more to sex here as well. Certainly more than Hollywood tells. Sexuality here has little to do with the act. Just as rape has nothing to do with sensuality, the sex in this movie is rather a symptom of something else. The movie has some flaws. Char acters are well-developed individu ally, but it is difficult to sec what keeps Colin and Mary together, ex cept, of course, sex. Their growing fascination with the bizarre Robert lacks conviction. Sure, he’s an interesting person, but Colin is disturbed far beyond what we are shown good reason for. Still,“Comfort” isabcauliful film. It is beautiful with a slow-motion, underwater feel. Violence lies heavy like a blanket in “The Comfort of Strangers,” just beneath the surface of every action, every thought.
